• Journal of the Korean Society for Library and Information Science
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• v.50 no.3
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• pp.309-327
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• 2016

Scholarly monographs have been a main vehicle for knowledge representation and transfer as well as an important research outcome. University presses have long been considered as the last bastion for scholarly monographs that have low commercial prospect. Until now there has not been a systematic data analysis regarding scholarly monograph production by university presses in Korea. In this paper, we collected bibliographic records of university presses' monograph publications between 1950 and 2015 using the National Library of Korea's online catalog system. A total of 21,015 records were used in the analysis. In particular, for monographs published between 2001 and 2015, we categorized them into scholarly monographs and non-scholarly monographs. University presses' publishing showed sharp increase during the 1990's but is in decline after its peak in 2005. University presses seem to have engaged in publishing more non-scholarly monographs than scholarly monographs by a ratio of 6:4. Large university presses in size seem to produce higher proportions of scholarly monographs than smaller presses. In terms of authoring types, single authorship accounts for the highest proportion and on the increase. However, edited books are losing ground as translated books seem to hold steady. Monographs in social sciences have been published more frequently than any other subject areas as there seem to be significant discrepancies among subject areas in terms of the scholarly monograph proportion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.76-84
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• 2019

This study was conducted for the purpose of examining the Outstanding Universal Value, World Heritage Values, in Suzhou classical gardens and the operational method of the protection management of historic gardens, and the results of the study are as follows; The first, as a world heritage, Suzhou gardens proved OUV by showing the taste and lifestyle of the literati, the unique class of Chinese history, to the natural environment of the East Yangtze Delta region. In addition, it showed the exchange of international culture with unique Chinese garden techniques. Second, a authentic reconstruction of garden have original value because it exist records of the near past. The 20th-century archives described by the contemporary language and describing the heritage through images using such media as photography and drawing played a decisive role in restoring gardens. Third, the protection management of Suzhou gardens, which began in the 1950s, was carried out in detail, including the reconstruction of components such as buildings, the restoration of plant materials and horticulture technique, the creation of a list through the records of trees, the maintenance of props such as plaque, furniture, and the project to improve water quality and restore waterscape. The last, after the World Heritage inscribing, Garden's protection management was proceeded in two directions. One is that through the reorganization of the administrative management system and the enactment of laws related to Suzhou classical Gardens, the listing heritage is strictly protected and managed, and the other is that the historical gardens are used to establish urban masterplan and urban identity in Suzhou. The range of garden properties greatly expanded by distinguishing the principle of conservation from protection to rational use and the grade of protection, such as whole protection, maintenance protection and protection of historical sites.

• The Korean Journal of Archival Studies
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• no.68
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• pp.5-39
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• 2021

In this study, the origin of the record continuum theory was analyzed in conjunction with the record management situation in Australia after the mid-20th century and record lifecycle model. For an in-depth understanding of the record continuum theory, it is necessary to consider the background and process of its formation, and to analyze the lifecycle model itself in terms of a theoretical system built with reflections on the lifecycle model. To this end, first of all, with the aim of analyzing the historical background of the formation of the record continuum theory, the background and process that led to intensive illumination of the US lifecycle model in the process of seeking an independent public records management system in Australia in the 1950s were reviewed. Then, the meaning and limitations of the lifecycle model were considered along with the background of the formation. In order to examine the main contents, significance, and limitations of the lifecycle model, it is necessary to analyze the circumstances under which it was formed. Based on this analysis, finally, the problems associated with the application of the lifecycle model in Australia's new record creation environment, as well as the factors that were the origin of the newly born record continuum theory were examined.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Proceedings of the KOR-BRONCHOESO Conference
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• 1972.03a
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• pp.17.1-17
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• 1972

Hemophilia B is hereditary disorder of blood coagulation known as a deficiency of P.T.C. or Christmas factor. Anyway it's indistinguishable clinically with hemophia A and C. Here's one of most interesting problems gave us because we could only find it out as a hemophilia B. when we stood a situation to be met continuous bleeding from the operative wound of tonsillectomy and Adenoidectomy. Wintrobe proposed that easy bruising, difficulty in stopping the bleeding from razor cuts, and prolonged bleeding after tonsillectomy or tooth extraction usually are the major manifestations. For a long time little attention was paid to reports of a milder form of the diseases. In such cases coagulation time, and even prothrombin consumption were normal and the symptoms were correspondinly mild, small wounds as a rule giving little trouble and hemoarthrosis being uncommon. In our cases, there's no specific contributory history except nasal bleeding intermittently and also no specific contributory laboratory data before the operation. After the T. & A., there's continuous bleeding from nasopharynx and the coagulas on the both tonsilar fossas being grown day by day. Therefore we suspected some abnormality of coagulation mechanism and then we could get conclusion of hemophilia B. after various laboratory tests including T.G.T., As I know, this case, hemophilia B. is 3rd one as a report in Korea. We have no data of hemophilia family at present time, so that I propose that we have to make system of hemophilia family in Korea. In a next, we have to make routinely complete laboratory test, ego routine C.B.C., bleeding time, coagulation time, prothrombine time, partial thromboplastine time, before operation of T.& A. If we can solve these problems we can get the T. & A. without any problems of bleeding according to get the operation of T. & A.

• Journal of architectural history
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• v.15 no.2
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• pp.39-54
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• 2006

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.6
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• pp.715-724
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• 2003

The Korean clothing culture has shown rapid changes along with influences of western cultures, with social changes due to the liberation from Japan, the Korean War, and the economic growth concentrated on export since the westernization of Korea had begun. Also clothing materials, as a phase of such culture, have been changed. Among silk fabrics, "Dan (단: damask of satin texture with Korean traditional patterns are inwoven)", which has been concerned one of the most beautiful and precious fabrics due to its complexity and difficulty of processing. Since the beginning of the Era of Enlightenment(Kae-hwa-gi), Dan fabric materials and weaving methods have changed. It seems that the figured texture using the Jacquard loom began in 1936. when the Jacquard machine began to be imported from Japan into Korea. From that time on, new fabric materials, such as yangdan (양단), and popdan (법단), hobakdan (호박단), silk and rayon mixed Dan(교직양단) began to be produced. Before 1950's there were some restrictions about the Number of wefts, so the production of the one colored dan(단색단) was more common than that of the multi colored dan(다색단). But with the spread of 4$\times$4 shuttle box loom (양사정직기), various kinds of the multi colored dan have been produced after 1960's. Around the end of 1980's, automatic shuttle change loom have been generalized and 7 color dan(칠색단), 9 color gumsadan (구색금사단) have been current in multi colored dan. In terms of materials, synthetic and chemical textiles had been used widely and alter 1980's most fabrics, of which the ground weave is not being woven with satin-weave but being woven with plain or twill-weave, are named Dan in general.

• Cross-Cultural Studies
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• v.27
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• pp.415-434
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• 2012

The Hanja used in Korean are traditional Chinese characters, but what Chinese people use now is simplified characters. So, there are differences in pronunciation and meaning between the characters used by Korean and Chinese. More than 70% of the Korean language vocabulary derived from or were influenced by hanja. For the inheritance and development of traditional culture,and for the communication among countries of the Chinese characters cultural circle in Northeast Asia, should we build up an authentic Chinese education system. But the government hasn't pay much attention to this work, and the government's policy can't implement the efficient education. Consequently, in these days, there are more and more Korean people who are functionally illiterate in Chinese. Recently, proficiency tests of Chinese characters are expected to promote the development of Chinese education. But, most Koreans' motives for Chinese study are usually to pass the college entrance exam or to compete for jobs. However, after passing the test, the motive for studying gradually fade away. It is the basic problem faced by Korean Chinese character education. Since the 1950s, various character education methods have been studied in China, the research results were appliedin their textbooks and other materials. Therefore, a well-organized and efficient learning-by-step education system was built up. At present, China's literacy education in the textbooks utilizes a range of methods including revisional centralized and distributed. Unfortunately, there is still one shortcoming worthy of concerns: how to solve the problems due to the simplification of traditional Chinese characters? Is it possible to revive traditional Chinese characters? Before adopting the results of research on China's literacy education and applying them to our character education, we should consider our specific situation carefully. Adopting the research results with cautious review and objective criticism should have a positive impact on Korean Chinese character education.

• Cross-Cultural Studies
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• v.25
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• pp.421-452
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• 2011

This writing is about an effort to try to preserve and transmit the materials related to Jing-Ju(京劇) who is the Chinese traditional theatrical art. The plan to preserve the materials of performing arts is very important because its collection and preservation about them are much more particular than other genres. China got the great results in this field because of China Jing-Ju Yinpeixiang (中國京劇音配像) project. Jing-Ju Yinpeixiang project is a kind of project to restore and preserve the materials which reproduced Jing-Ju repertoire by inserting the performance method of Yinpeixiang (音配像: put together images to sounds) by later actors and actresses of Jing-Ju in recordings of 1950s to 1960s by remained famous ones. Also, this is the large scale culture project that more than 170 institutions and more than 3000 persons participated in during the total 21 years that it first started in 1985 and was completed in the end of 2006. Thanks to this project, China got to have the almost perfect materials which reproduced live performances to add the images of junior actors and actresses who accurately imitated performances of 115 famous actors and actresses including each type of role, schools and great actors from 1907 to the end of 20th century in their voices. This is the only method to restore the materials in this world and very creative. It's been 15 years since TV broadcasting first showed its fruition to Chinese people. The Chinese government gave the positive judgement on this project and prepared to hold the big event which celebrated itself this year. But very little is known of this process and there is no any study in Korea. This writing tried to clarify what Jing-Ju Yinpeixiang project is, what it has meant to Chinese people and what results it has gotten after it's been 15 years since the first show was on TV.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.5 no.4
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• pp.285-294
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• 2000

In order to determine the horizontal and vertical distributions of metals and prospect the recent metal pollution history in Nakdong Estuary, we took surface and core sediments. Maximum value of organic matter occurs at the upstream site located 4 km from Nakdong barrage, and the concentration of trace metals (Zn, Cu, and Pb etc.) decrease seaward in the estuary. The sedimentation rates, based on $^{210}$Pb$_{ex}$ and $^{137}$Cs activities, were 0.34 cm/yr in inside of barrage (core 1) and 0.25 cm/yr in Changrim (core 4). Sediment mixing layer does not exist in core 1, where anoxic condition is known to be prevail. The topmost sediment layer of core 4 (<3.5 cm) is severely mixed. At sites 1 and 4, concentrations of Cu slowly increased during the period of 1920-1970, rapidly increased during 1970-1990, and followed by slight decrease after 1990. Zn contents increased in early 1960s and peaked in 1993, and followed by decrease after 1990s. Pb has increased continuously since early 1970s. At the downstream of the barrage, Cu and Zn have increased in the topmost layer. The trend of increase of Cu is evident after 1950 (11 cm in sediment depth). Overall trend of heavy metal concentration clearly indicates the pollution has been increasing after the construction of the barrage.